Search results for "critical%20code%20studies%20working%20group"
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[…]of production for many in neoliberal economies, then in what sense can we legitimately say that a group can mobilize in the public sphere without having to rely solely on a discourse of precarious work conditions? In other words, are there other factors or elements that can function to ameliorate working conditions without having to recourse to strict economic demands? Lorey draws on Hannah Arendt’s concept of the virtuoso, or performing artist, who exposes herself to the gaze of the other. The act of performing does not have an end (tangible) product in mind but it is the performance itself […]
[…]9 Sept. 2015. Web. 22 Nov 2015. . DiCaglio, Joshua. “Ironic Ecology.” ISLE: Interdisciplinary Studies in Literature and the Environment 22.3 (Summer 2015): 447-465. Print. Ferrara, Mark S. “Blake’s Jerusalem as Perennial Utopia.” Utopian Studies 22.1 (2011): 19-33. Print. FWC Developer. Florida Wildlife Conservation Commission’s “Florida Gopher Tortoise.” Google Play. 2015. Web. 22 Nov. 2015. . Geocaching.com. “Beneath the Pines.” Geocaching.com. 7 Nov. 2010. Web. 22 Nov. 2015. . ——”Mr. Turtles Last Stand.” Geocaching.com. 12 Feb. 2013. Web. 22 Nov. 2015. . Gibson, William. The Peripheral. New York: G.P. Putnam’s Sons, 2014. Print. Grusin, Richard. Premediation. New York: Palgrave Macmillan, […]
[…]part of system. Like a salt marsh that cleans the toxic chemicals out of water. LS: What are you working on right now? MK: I’m working on Giant Pool of Money and Tap, a project about fracking. LS: You’ve done a lot of traveling in the past year. How has it influenced your art? MK: Right now I split my time between Ann Arbor and New York City. I was on sabbatical this year, so I went to the ASA on Giant Pool of Money. I went to Russia (and was there the week their currency lost a third of […]
[…]clustered around those whom Matthew Arnold had heralded as “alien,” that is, detached from the working class, the middle classes, or the aristocracy by virtue of their aestheticized and critical sensibilities. Admittedly it was an event in philosophy, but mainly in the arts and literature. It had little or no economic or political stake. Philosophically its core figure was Nietzsche, who mounted the strongest critique of democracy and who presented a new biological philosophical anthropology against humanism. In the arts, as we know, it happened outside of popular and respectable bourgeois culture. Modernism made two key moves, each of which […]
[…]planetarity matters. To these important critics and theorists, one could also add the collective reworking of modernist literary studies by a diverse number of contemporary critics including but not limited to Jessica Berman, Laura Doyle and Laura Winkiel, and Susan Stanford Friedman, who have contributed to a significant rethinking of modernism from a geoaesthetic perspective. Friedman’s contributions, starting with Mappings: Feminism and the Cultural Geographies of Encounter (1998), a landmark essay on planetary modernism in Modernism/modernity (2010), and a new book published this year on that topic, are critical for humanities scholars contemplating the planetary in literary studies. Other scholars […]
[…]to my emailed questions, Sutu wrote of the “magical surprise” the AR gave him when they got it working right, and the feedback he has received from readers since then that describes a similar impression: “People are foremost drawn to the magical effect of it and inquire about the story later. Which sounds a bit gimmicky, but in the aftermath of a sale I’ve received plenty of emails from happy customers who have enjoyed the story too. So that’s a relief.” One of the most intriguing ways in which form and content are brought together in the comic partakes of […]
[…]doesn’t necessarily recognize those without equal access to virtuous circles, or the ability to code or without sources of income other than their code. Now let us return to the curious formulation that “Information wants to be free.” According to Roger Clarke’s web page on the phrase, this truism was coined by Stewart Brand in a discussion at the first Hackers Conference in the fall of 1984. It went on to be printed in different places including Brand’s book The Media Lab: Inventing the Future at MIT (1987). It is interesting that in the original formulation Brand contrasted the desire […]
[…]theatrical, or random like Trump (if we separate him from the power that will annihilate many working people who supported him), emerges in loitering movements, effect becoming cause – optic nerve phenomena seemingly reciprocal between eye and brain yet perhaps not – no less prohibition but a less overt ban, yet against publish, speak, write, think, see – so the censorship can be interior, secretly disturbed, as gripping as more constructive experiences just as it may drive toward the seeming opposite of complex. As censorship commonly must to disguise instinctively its intestinally wrapped logic. Precisely what Ai Weiwei witnesses being […]
[…]Algorithms&oldid=1830 > [accessed 7 May 2016]. Hayles, N. Katherine (2008), ‘Traumas of Code’, Critical Inquiry, 33: 1, 136–57. Manurung, Ruli, Graeme Ritchie, and Henry Thompson (2012), ‘Using genetic algorithms to create meaningful poetic text’, Journal of Experimental and Theoretical Artificial Intelligence, 24: 1, 43–64. Ritchie, Graeme (2007), ‘Some empirical criteria for attributing creativity to a computer program’, Minds and Machines, 17, 67–99. Rosenheim, Shawn James (1997), The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet, Baltimore: Johns Hopkins University Press. XIII. Electronic literature is posthuman. ‘It’s not human.’ Literature’s gone to the pits – sorry, to bits (Callus […]
[…]as such (other than as quoted strings) and, if they could be, then the code would no longer be code. “The Code Is Not the Text” asks language artists who work in programmable media to remember what they are working with. In common with many artists who have, at some point, identified themselves as writers, I am fascinated by the surface(s) on which we write. For most of us, this resolves to a fascination with the book and its culture, an extraordinary world, with no sign of ending any time soon. Jacques Derrida’s expansive notions concerning what “the book” and […]